gets shut down, Clive and Elsa hide Dren (played as an adult by smoking-hot Delphine Chanéac) in an old farmhouse where Elsa was raised by her mother, rearing her as they would any child-teaching her to read, protecting her from diseases, and telling her that she can’t always get what she wants. So, the style of the film is scarcely balletic, but the plot waltzes in enticingly nutzoid directions. You laugh in part because Fosse, Astaire, and Rogers’s blurring of gender roles in their art cleverly connects with the evolution of Clive and Elsa’s monsters throughout the film-the females eventually morph into males, displaying rather violent tendencies-at the same time as you bemoan Natalie’s images for never really dancing on air. The man’s visual style is nondescript but, compared to the Vaseline-slick shit smears produced by Platinum Dunes, nonetheless welcomingly patient, and for much of its running time, Splice at least gets by on the sheer strangeness and unpredictability of its premise, as well as its quirky jolts of humor.Īn obsession with dance informs many of the laughs: “Bob-fucking-Fosse” is used as an expletive and the slug-like creepy crawlies that first bring success to Clive and Elsa, whose gene-splicing company goes by the acronym N.E.R.D., are named Fred and Ginger. You could say that he’s a hybrid himself: two-thirds David Cronenberg, one-third Paul W.S. Working for the first time with something of a Hollywood-sized budget, Cube director Vincenzo Natali confirms that he has a knack for novelty but scant ability to set off truly heart-wrenching emotional provocation. But when Elsa hybridizes her latest freak show, is it really for the sake of curing our deadliest diseases or is it to make for herself the child Clive won’t give her? Inquiring minds want to know-and the fact that we never really get a grasp of Elsa’s intentions is part of Splice’s problem. Dren is the product of science run amok-part amphibian, part bird, and part supermodel, created by biochemist couple Clive (Adrien Brody) and Elsa (Sarah Polley) before the plug is pulled on their controversial splicing-stuff-together program.
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